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By MARK R. KILLINGSWORTH
Van Cliburn's concert last eve-
ning in Hill Aud. was a disappoint-
ment, a surprise and a triumph.
Cliburn began the evening with°
the Intermezzi Nos. 1 and 2, Op.,
118, and the Ballade in G minor,
Op. 118, No. 5, by Brahms. The
second intermezzo was full of the.
inner harmony and the serene
repose Brahms expresses so well.
But it was marred by a some-
what harsh and abrasive render-
ing. of the first intermezzo and the
Ballade. Although both, to be
sure, are vigorous and sturdy ve-
hicles, they were a little too much°
so last evening -- particularly in
contrast to the second intermezzo.
Too 'Appassionata'?
Next was the Sonata in F minor,

was too "appassionata" and force-
ful, at times to the point of bom-
bast, particularly in the first
movement. He accented the sev-
eral series of repeated sixteenths
of the first movement too heavily
and used tempi which very nearly
amounted to rubato. Combined
with a number of technical dif-
ficulties, this approach gave Bee-
thoven a disappointing, jerky an-
gularity which he fortunately
rarely has.
Cliburn next played Prokofieff's
Sonata No. 6 in A major, Op. 82.
Prokofieff's piano sonatas are all
classics of their genre, but they
are all exquisite concoctions of
the profound, the mordant and
the vigorous.rr
E Prize-Winner

Op: 57 ("'Appassionata")_ by Bee- Cliburn, on the other: hand, is
thoven. Here, too, Cliburn himself still known to most concert-goers
Viet Coaii on Seen
A S tep to TaKeover

By The Associated Press I
What is likely to happen if the
Communists eventually become
part of the government in South
Viet Nam?
From the West's point of view,
the history of ,such coalitions is
not bright. Time after time, the
coalition has been only the pre-
lude to full Communist takeover.
This has been generally true of
countries in the geographic sphere
of Communist influence.
China, Hungary, B ul g a r i a,
Czechoslovakia, Romania, Poland,
North Viet Nam and Cuba all have
had coalition governments. In all]
cases the Communists overwhelm-
ed other political elements and
established totalitarian rule.
Coalition Government
Communists in Indonesia took
part in a coalition government.,
But for the premature misfiring,
of a plot, they would have grabbed;
the whole country last October.
Only in the West have the Com-
munists failed to prosper with
coalitions. France and Italy had
Communist representation in their
governments in the years imme-
diately ;after. World War II. In
both cases, the Communists were
ejected and. thereafter excluded1
from participation in cabinets.
Otherwise, the Communists have
done well.1
This is the story:
CHINA
The Chinese experience was a1
herald of things to come, a classic
example of how Communists re-
gard coalition governments. Thei
story goes back to 1922, two years
after the Chinese Communist
party was founded, when the Co.-
munist International in Moscow
ordered it to join the ruling Na-
tionalist Kuomintang under
Chiang Kai-shek in a coalition.
Insurrection
In 1927, the Koumintang learn-
ed of international Communist
plans to seize China, and purged
Communists from its ranks. The
Communists quickly went over to
insurrection which became revolu-
tion.
During the Japanese invasion,
the Communists again joined the
Kuomintang. The party promised
publicly to abolish its own forces,
integrate them with the national
army and end the "class struggle."
Chiang evidently thought they
would put China's interests before
all else.
The Communists, h o w e v e r,
quickly attacked the Nationalist
rear with sabotage and subversion,
expanding their own strength at
Kuomintang expense.
At the time of World War II,
the Communists held Shanisi and
Hopei provinces, and while the
Nationalists fought the Japanese,
the Communists harassed the
Kuomintang rear and 'expanded
into northern China. They re-
established the "Soviet" govern-
ment they had sworn to dismantle.
Increase Demands
In 1944, the Nationalists tried to
reach a settlement with the Com-
munists, who constantly increased
their demands. The United States
tried to mediate, and Mao Tse-
tung signed a coalition agreement.
As the war ended, Mao agreed on
the need to end internal strife.
Then he threw a wrench into the
works by increasing his conditions
for an agreement.
The Nationalists finally agreed
to a political consultative confer-
once which was supposed to con-
vene a national asembly to draw

up a constitution and reconstruc-
tion program.
There was a cease-fire agree-
ment, but the Communists soon
accused the Kuomintang of break-
ing it and resumed fighting in the
northeast. Thereafter, the Com-
munists discarded all agreements
and mounted the offensive which,
by October 1949, made them mas-
ters of mainland China.
POLAND
The Soviet Communists never
gave coalition a chance in Poland
after the war. There had been a.
"national unity" government, but
Russian - supported Communists
took controlling positions.
The United States protested
suppression of democratic activity
as violating the 1945 Yalta ac-
cords, but the Communists paid
no heed. Leaders of other parties
were arrested, imprisoned or forc-
ed into exile. In 1946, Poland
already was under totalitarian
rule, with all opposition strangled.
BULGARIA
In September 1944, as the Nazis
were being driven out, Bulgaria
had a "fatherland front" coalition
regime. The Communists had an
easy job with the support of Soviet
troops.
Despite Yalta
By the end of 1946 they had
taken over completely and ruth-
lessly, despite Yalta pledges of
free elections. By the following
summer they crushed the last of
the opposition by the arrest and
execution of Peasant party leader
Nikola Petkov.
When Georgi Dimitrov, veteran
Communist revolutionary, became
premier, Bulgaria was under to-
talitarian rule. Again, the United
States protested.
SHOWN AT 1:00-3:00-
5:00-7:05 & 9:10
He's .
no
secretA

as "the man who won first in the
Tchaikovsky Competition" in 1958
and, hence, supposedly only good
at interpreting Tchaikovsky,
Brahms, and other composers of
that general melodramatic ilk.
What may .be called the "Tchai-
kovsky First Piano Concerto syn-
drome" unfortunately seemed to
have had an emphatic influence
on Cliburn's Brahms and Bee-
thoven; what could Cliburn's
Prokofieff possibly have in store?
It was, quite simply, the surprise
of the concert. Cliburn delighted
his audience with a glittering and
powerful performance, full of wit
and pathos. The first movement
was extremely forceful and ener-
getic, and the elegant second
movement, Allegretto, was sting-
ing in its sophisticated humor.
Sad, Sardonic, Sultry
Cliburn used the entire dynamic
range of the piano in the Proko-
fieff-something he appeared to
have trouble doing earlier-and
the slightly sad, somewhat sar-
donic and even vaguely sultry
third section, Tempo di walzer,
was, the outstanding and very
pleasing beneficiary. -Despite some
occasional impressions, the final
Vivace was a brilliant tour de
force, played with great drama'
and greater speed.'
The triumph of the evening,
however, came. last.: Chopin's
Sonata in B minor, Op. 58. The
impressive Allegro maestoso was
at times somewhat too vigorous,
and reminded one more of Rach-
maninoff than Chopin - or at
times of Chopin as he might have
been played in 1848.
But the next two sections, Molto
vivace and the Large, were effec-
tive and affecting. Cliburn devoted
great care and invested much feel-
ing in the long, singing sections
here, and expressed movingly the
quiet and clarity that are the es-
sence of Chopin. And the Presto
ended the concert on a cascade of
brilliance.
The audience enjoyed it tre-
mendously, and so, evidently, did;
Cliburn. After five encores-two
of which, appropriately enough,1
were from Chopin - the concert
ended, and with it something of a1
triumph.
4TH & FINAL WEEK

By MARCIA WICK
If you're looking for pink ruf-
fled tutus ora classic rendition of
Tchaikowsky's "Swan Lake," you
won't find it at the Spring Dance
Concert. Instead, the program will
feature a wide variety of modern
dance completely organized by stu-
dents of the Dance Department.
The Sixteenth Annual Dance
Concert will take place Friday,
Feb. 25, and Saturday, Feb. 26,
in the Barbour Gymnasium Dance
Studio. Presented by the Univer-
sity Concert Dance Organization,
it will represent the efforts of
students in the Advanced Chor-
eographic Workshop, consisting
primarily of dance majors; Work-
shop Two, composed of younger
dance majors, minors and non
majors; members o fthe Modern
Dance and.Ballet Clubs, and Mod-
ern Dance class participants.
The dance students themselves
have organized the entire pro-
gram. Those experienced in mod-
ern dance have supplied the chor-
eography, while others have aided
in the production of costumes, in
staging and lighting the selections,
or in publicizing the concert. The
overall operation is under the
guidance of Prof. Ester E. Pease,
superintendent of women's physi-
cal education ,assisted by Miss
Gay Delanghe and Mrs. Susan Ad-
ams, instructors in women's phys-
ical education, and Mrs. Elleva
Davidson, dance department grad-
uate and teaching-fellow.
In addition to performances by
University dance students, one of
the featured sections of the pro-
gram is a 20 minute selection per-
formed by high school dance stu-
dents of Interlochen Arts Acade-
my. This dance, "Bialando," has
been choreographed by William
Hug, head of the dance de-
partment at Interlochen, and set
to music by Warren Benson,. an
American composer.
The dance program itself is as
varied as the students who have
organized it. The modern dances
have been set to recorded music
of every sort imaginable, empha-
sizing the versatility of modern
dance itself. Compositions by De-
bussy, Reventhal, Kelemann, Va-
rese, and Ives, a piece of Bach
transcribed into percussion ,elec-
tronic computer music, and even
Shows at 1:30-4:30-8:00 P.M.
Matinees. .....$1.25
Evenings & Sunday... $1.50
Children ..............75c

periods of complete silence provide
appropriate backgrounds for the
students' dances.
"Caprice," for example, is a for-
mally structured yet light and
airy dance accompanied by Vi-
valdi's "Concerto in C for Trum-
pet and Strings." This composi-
tion is performed by five under-
graduates clad in bright pastel
costumes, who dance with enthus-
iasm and assurance. It provides a
delightful opening selection for
the concert.
"Caprice" is followed by "Cir-
ca," certainly one of the most un-
usual selections of the concert.
This dance begins with a tight
cluster of dancers who move across
the stage encircled by a large
metal hoop. Following this rather
unusual opening, the rest of the
composition consists of dancers
entangled and ensnared by the
hoops, unable to free themselves.
The theme of entanglement occurs
throughout the dance, perhaps
symbolizing present - day man
caught in a web of societal pres-
sures and prejudices that hamper
his individuality. Miss Delanghe
emphasizes that this dance, done
in complete silence with dancers
wearing black leotards bandedin
bright stripes, provides an "avant-
garde satirical commentary on
contemporary society." Although
perhaps a bit obvious in symbolic
content, this fascinating composi-
tion is left up to the viewer to in-
terpret.
One of the best selections is
"Hyperprisms," choreographed by
Michelle Levine, '67Ed, and set
to music by the contemporary
composer Varese. The three danc-
ers, costumed in black leotards
with white geometric designs su-
perimposed, are a study in com-
plete control of body movement.
The dance itself is highly struc-
tured, emphasizing the composi-
tional and spatial arrangements of
the dancers.
The Spring Dance Concert is
well worth seeing. It represents
the climax of what the dance de-
partment students' efforts since
last fall promised to be, and, in-
deed, is a presentation of a great
variety of dance forms.
Tickets are still available and
may be purchased prior to the
performances, Friday and Satur-
day at 8 p.m., and a Saturday
matinee at 2-:30 p.m.

11

I

MN"

TONIGHT AT 8:30 P.M.

PROFESSIONAL THEATR E PROGRAM
presents the

By BOBBI SCHEAR
The Department of Speech will
present as its ninth Student Lab-
oratory Theatre Production of
1965-66, "Dame Truth" and "The
Wandering Scholar from Para-
dise," medieval plays by Hans
Sachs. The production, at 4:10
this afternoon in the Arena Thea-
tre of the Frieze Building, is open
to the public.
Hans Sachs, a 16th century
cobbler and master singer in Nur-
emberg, Germany, wrote plays that
made people laugh at themselves.
In "The Wandering Scholar," a
short farce, a peasant wife gives

0

Edith Hamilton translation

of

Euripides'

mac~sterpie ce

clothes and money to a wander-
ing scholar who has promised to
take them to her departed first
husband in Paradise. After belit-
tling his wife for her silly ways,
the woman's present husband goes
after the scholar to retrieve his
property. The farmer, outsmarted
by the scholar, is reconciled to
his wife.
The townspeople of Sach's mor-
ality play, "Dame Truth," are cel-
ebrating Shrovetide and speaking
of piety and good deeds when a
stranger appears. The young wom-
an who asks for shelter is Dame
Truth, sent from heaven to spread
truth to all people.

The peasants are anxious to help
her until she reminds them of
their faults and foolishness. Then
they chase her into a well where
she disappears echoing the Len-
ten message: "Who harbours truth
must pay the tax, not count the
cost."
Barbara Linden, the director of
"Dame Truth," is trying to create
real people in a foreign time and
place. She has used an expression-
istic set, creative dance, and im-
aginative lighting to illustrate the
dramatic contrast between the
earthy realism of the peasants and
the allegorical super-human qual-
ity of Dame-Truth.

THE TROJAN
WO0MEN,
The Circle-in-the-Square Production
Originally Directed by
MICHAEL CACOYANNIS
WINNER OF THE NEW YORK
DRAMA CRITICS CIRCLE AWARD